Broadway, author, Arthur Wooten
You’ve alluded to it now, but in a nutshell, can you tell the readers a little about the book?
DIZZY is the story about Angie Styles, a beloved Broadway actress, singer, dancer who at the height of her career is struck down by a mysterious disease and is forced to reevaluate her life and the people in it as she struggles to survive.
So this mysterious disease in the book is something that you actually deal with it. Something very few people know about. Tell us about it.
It’s called bilateral vestibulopathy with oscillopsia. I know, it’s a mouthful. Basically, in 2005, a virus went to my brain without me feeling a thing and it destroyed the workings of both of my inner ears. One of the jobs the inner ear does is to relay information to your brain, letting it know where you are in space. Well, I’ve lost that ability. I have no sense of balance. Ironic for a former dancer and gymnast. Every step I take in life, actually every movement of my head, feels like I’m bouncing on a trampoline. And it never goes away. On bad days it feels like I’m dropping in an elevator or walking through life on a waterbed. That’s the vestibular part.
The oscillopsia is my brain forcing my eyes to look onto objects to get a reading as to where I am in the world. It needs to know whether I’m upright or upside down or sideways. Whether I’m turning, standing up or sitting down, it has to get a reading or I just fall over. My brain has no idea where I am. And it’s stubborn. It makes my eyes stick on objects and then they will jump to another very quickly. So I see life through an erratic handheld camera. Think bad indie film. Speaking of films and TV, while watching movies or shows, my brain thinks I’m in them. Action pictures are real tough for me and afterwards it’s almost impossible to walk for awhile. But I have exercises I do to teach my brain to stop locking my eyes onto things. It’s exhausting and sometimes painful but my eyes are tracking smoother. But stress, adrenaline and change in barometric pressure wreak havoc with my symptoms. Even word retrieval can be affected. Not a good thing for a writer.
So fascinating to hear about something that we simply do not know exists. Did you think in terms of the awareness you would bring to Vestibular Disorders when writing the book or was it more a cathartic experience?
Both. Writing the book was extremely cathartic. So much so, that I put off writing it for several years. Every time I thought about it, I’d breakdown into an emotional puddle. The process of getting DIZZY out of me was so emotional; it made my symptoms incredibly severe. There is a very dramatic scene, what we would call the denouement (that I don’t want to spoil) but once I wrote that chapter, I felt better. It was like the calm after the storm. Once the book was done, I clearly realized that this was an opportunity to come out of the vestibular closet. Many people had no idea I was dealing with this syndrome but DIZZY now offers me a platform to inform, educate and help others suffering from this disease, help them find support and let them know they are not alone out there.
Did this have anything to do with you stopping your performance career and switching gears to that of a writer?
No, not at all. As I mentioned earlier, I segued into writing before the vestibular disease appeared. But honestly, the book signings I do are very much my performance pieces. And in many ways I am acting again, every day of my life. I try to blend in as well as possible so that people don’t notice my symptoms. A constant sensation is that internally I feel drunk. And if I’m not careful, I’ll look that way too. One day not too long ago I laughed and said to myself, “Just go with the drunkenness. Enjoy it. Hell, there’s no hangover!” In truth, my life now is the biggest acting job I’ve ever had.
You have had some wonderful feedback on much of your work in the past from Phylicia Rashad to Debbie Allen as well as productions of plays you’ve written performed in the states and internationally. Knowing you as I do, I think it’s because you are so approachable and write such believable work. How has it been turning to some of those people from your past as you approached a book about the theater community?
It’s been fantastic and therapeutic. Everyone has been so supportive. Phylicia and Debbie have been friends of mine since 1987. I love them dearly and over the years we’ve worked on projects together. And I’ve reconnected with old friends like Peter Gregus who’s starring in Jersey Boys. We worked together – gosh – maybe back in 1980 at Nanuet Dinner Theatre. He was just a kid then! And I’ve met new friends like Donna McKechnie who’s shared with me that my scenario is very close to what she’s experienced in her life. And who knows, maybe DIZZY will become a Broadway musical one day. Wouldn’t that be a great way to say thank you to my theatre colleagues, by offering them all jobs?
I know that readers of BroadwayWorld love the theater community and I believe they will absolutely love DIZZY. Thanks for sharing it with us today. The book launches December 10 from Galaxias Productions and information can be found at www.arthurwooten.com
Gregory G. Allen is a member of the Dramatist Guild and has been in the entertainment business for over twenty years as an actor, writer, composer, artistic director, and producer. He was a composer in the BMI Musical Theatre Workshop, has had over ten shows that he has served as book writer and/or composer/lyricists produced on stage, received numerous grants and awards for writing, has had short stories and articles published in a dozen different anthologies and websites, and is an award-winning author of two novels and a children's picture book. www.gregory-g-allen.com|